In the world of contemporary sculpture, Junko Mori stands out with her unique approach to metalwork. Specializing in the assembly of forged and cast metal, Mori creates intricate pieces that blend nature's beauty with skilled craftsmanship. Her work, often inspired by organic forms, offers a fresh perspective on the possibilities of metal as an artistic medium.

Born in Japan and now working from her North Wales studio, Mori recently visited Silverlining to share her creations and engage with our team. In this Q&A session, we have the opportunity to learn more about Junko Mori's inspirations, techniques, and the journey that led her to become a prominent figure in metal sculpture.

What initially sparked your interest in working with metal as a medium for your art?

I was studying 3D design at Musashino Art University in Tokyo. We went through various material practices, and I found metalworking the hardest. I have a very strange habit of wanting to conquer difficult challenges… and I often find new catalysts through mistakes and accidents, which I love.

How has your relationship with the material evolved?

This is very strange, but I think metalworking obsession is in my blood. My father's dissertation at university was about aluminium alloy, and I found a family tree showing there were silversmiths a few generations back in the Edo period*. I feel a spiritual connection when dealing with metal, particularly in forging, where I see the colour change by heat. Over the last 22 years, I’ve discovered many things, adding new layers on top of the foundation built by historical research from many ancestors.

**Junko Mori’s Chandelier in the Forest**

*Photo Credit: Anna Higson*

Your work often draws inspiration from natural forms. Could you share your creative process of translating these organic elements into your sculptures?

I was into microscopy when I was little and saw amazing creatures propagating in a tiny drop of pond water. Since then, I became obsessed with drawing small patterns of nature growing in front of me. I used to doodle without thinking about the final outcome. I love the growing process rather than the ripeness or blooming moments. Any moments in nature during growth are beautiful, and I have been trying to share my observations through my artwork. Nothing is perfect, but every moment is perfect.

Your sculptures are characterized by intricate assemblies of individually forged steel or other metals. How do you approach the balance between planning and allowing for the spontaneity of the creative process to guide your work?

I do not have any preconceived ideas before starting welding. I do not plan. I have a rough idea of the scale, but that's all. My only guide is the flow that emerges during the process.

You've mentioned the concept of "uncontrollable beauty" being at the core of your artistic vision. Can you explain what it means to you and how it manifests in your sculptures?

If I could imagine a perfect outcome to work toward, I find less satisfaction when I reach the outcome, as I kind of know what was going to happen in my head anyway. I often face difficult challenges during the making process and work on resolving them. As a result, the outcome and my knowledge of the materials and processes increase. It's about accepting that some aspects of our lives are uncontrollable, but celebrating our attempts to grow in spite of that.

Your portfolio encompasses a wide range of scales. How does the scale of a piece influence your creative decisions?

I gained a lot of experience from handling large-scale commissions in the past. The biggest project I worked on was a 5-meter-high structure back in 2004. I was uncertain about it because my hand-forged elements became less significant, so I took a break from pursuing that scale. However, I recently made a 2.5-meter wall for a Japanese interior design company, and we managed to hand forge all the components, which is a miracle! I have preferences on scale, but I do not restrict possibilities by that. Therefore, creative decisions are fully involved, and I always ensure I focus on my strength, which is celebrating our hands rather than machine processes.

Some of your sculptures incorporate rare and precious metals, such as silver. What unique challenges and opportunities do these materials present compared to more common metals like steel?

**Junko Mori’s Steel Sculpture**

*Photo credit: Stephen Heaton*

Back in 2001, Chris Knight, a silversmith based in Sheffield, suggested I try working in silver. I was confident I could produce something unique as I trained as a blacksmith, which deals with rods and bars, but silversmithing predominantly uses sheet metals. It was simple curiosity that led me to start working in silver, but I learned about this incredible material and fell in love with it. All materials respond to our mental state; for instance, I end up forging badly when I am not happy. Often, on those days, everything goes wrong... Silver is incredibly sensitive to that more than any other material I have worked with. It can be spooky... If those days happen, I just stop working and go for a walk or start doing something else.

What are you working on at the moment?

I am working on several pieces at the same time. I am revisiting my very first steel series, the Propagation Project, and redeveloping some of the most time-consuming designs. Also, I am developing larger steel components using power hammers. In May, I made a wish list for the coming 10 years, and I am having a big meeting with my gallery, Adrian Sassoon. I am very much looking forward to sharing the new ideas with them, though it will be a challenge as my list is huge and difficult to achieve technically and commercially! Let's see how it goes...

Junko Mori’s journey and reflections provide a glimpse into the world of metal sculpture, where tradition, innovation, and passion intertwine. Her dedication to exploring the limitless possibilities of metal continues to inspire and challenge the boundaries of contemporary art. To experience more of Junko’s work, visit her gallery in London, Adrian Sassoon.

* The Edo Period refers to the years from 1603 until 1868 when the Tokugawa family ruled Japan.

An Artistic Alchemy: A Q&A with Metal Sculptor Junko Mori